Lot E

As a multi-disciplinary artist working in Tkaronto (Toronto), Atleigh Homma implements various mediums such as painting, video, and textile-based works into her practice. Her first solo show If I’ve Been Enveloped in Tenderness dealt with the appropriative nature of image making in the 21st century as well as her experience as a half-Japanese woman. The objects that appear in Homma’s recent paintings are for the most part collected from her family home, including personal belongings and those with connections to her family members. An assortment of glass vessels appears in the painting Reflected Postcards and Breakables, along with a small figurine of a geisha—itself a repeated motif within the series. A symbol of cultural ideals and of the preservation of traditional Japanese arts, its inclusion in Homma’s arrangements is at odds with her experience as mixed-race woman, growing up within western society, its standards, and its fetishization of East Asian culture. In art, this history is most distinctly traced back to the nineteenth century following the reopening of foreign trade between France and Japan. Japonisme—the movement during this time when Japanese decorative arts became highly coveted throughout Europe—left a powerful impression on painters of the time, including Gustav Klimt and Pierre Bonnard whose works appear in the mirror in Reflected Postcards and Breakables.

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As a multi-disciplinary artist working in Tkaronto (Toronto), Atleigh Homma implements various mediums such as painting, video, and textile-based works into her practice. Her first solo show If I’ve Been Enveloped in Tenderness dealt with the appropriative nature of image making in the 21st century as well as her experience as a half-Japanese woman. The objects that appear in Homma’s recent paintings are for the most part collected from her family home, including personal belongings and those with connections to her family members. An assortment of glass vessels appears in the painting Reflected Postcards and Breakables, along with a small figurine of a geisha—itself a repeated motif within the series. A symbol of cultural ideals and of the preservation of traditional Japanese arts, its inclusion in Homma’s arrangements is at odds with her experience as mixed-race woman, growing up within western society, its standards, and its fetishization of East Asian culture. In art, this history is most distinctly traced back to the nineteenth century following the reopening of foreign trade between France and Japan. Japonisme—the movement during this time when Japanese decorative arts became highly coveted throughout Europe—left a powerful impression on painters of the time, including Gustav Klimt and Pierre Bonnard whose works appear in the mirror in Reflected Postcards and Breakables.

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